S5 E5 According to Harpy
by Harpy101
Summary: Ramping up from the season midpoint. Downton is caught in the crossfire of changing times and the family are all fighting their own corners. A near-blessing, a near-panic and both mayhem and excitement on the horizon. A revelation - and reclamation - of honor and righteousness. A departure. A clock. A kiss. A row.


INT. COTTAGE. MORNING.

_Anna is standing by the window, one hand holding the curtain open and one hand on her belly. She looks down at her hand on her belly. She is deep in thought. Bates emerges from the bedroom, buttoning his waistcoat._

ANNA  
>I need to talk to you.<p>

_John takes a breath. Anna walks toward him and stops at his desk. He stops in front of the desk, looking at her._

BATES  
>Yes, alright.<p>

_Silence._

_Anna swallows and seems to change her mind. She begins toying with papers on his desk._

ANNA  
>We need to talk about when we're giving notice.<p>

_Bates looks a bit relieved._

BATES  
>I know.<p>

ANNA  
>They want to prepare me as the next head housekeeper. It's becoming-<p>

BATES  
><em>Yes.<em>

_Anna holds up a piece of paper and looks at it. Her expression changes._

ANNA  
>And when you were you going to tell me about this?<p>

(BEAT)

BATES  
>I didn't want you to be disappointed if it fell through.<p>

ANNA  
>The BONDGATE Hotel? It's in Ripon!<p>

BATES  
>(laughs) I know.<p>

ANNA  
>It's a beautiful old place.<p>

BATES  
>I know.<p>

ANNA  
>Fixed up, it would be-<p>

BATES  
>Yes. If hopes were dashed I wanted it to be only me.<p>

_Anna looks at the paper._

ANNA  
>You haven't heard back?<p>

BATES  
>No.<p>

_Anna sighs._

ANNA  
>Well, now we can be excited together. And if we can't get it-<p>

BATES  
>Be disappointed together.<p>

ANNA  
>It would just be perfect.<p>

_John nods. Anna sighs again._

ANNA (CONT'D)  
>Well.<p>

BATES  
>So, I was waiting. Once we have a property and we can start renovations-<p>

ANNA  
>The renovations could take months.<p>

BATES  
>Especially for that place.<p>

_Anna throws her arms around him._

ANNA  
>Oh! John!<p>

BATES  
>I know.<p>

BREAKFAST TABLE. MORNING.

CARSON  
>A telegram for Lady Rose.<p>

_Rose opens the telegram and lets out a piercing shriek._

ROBERT  
>Good God! What is it?<p>

ROSE  
>Papa says I can go to Oxford!<p>

ROBERT  
>Let me see that, please.<p>

TOM  
>I had a chance to talk to Charles the other night. He has - new concerns.<p>

ROBERT  
>(To Tom) I'm sure Mary has been brought up to speed. (To Rose) I will write to Shrimpy myself to straighten this out.<p>

ROSE  
>But, Papa says-<p>

ROBERT  
>I happen to know that Cora knows nothing about this. We will discuss it later. Meanwhile you will tell cousin Cora that you have gone behind her back. (To Tom) Have you spoken to Mary?<p>

Tom  
>Not yet.<p>

ROSE  
>But I-<p>

ROBERT  
>We will discuss it later, Rose.<p>

_Rose rises from the table and leaves, on the verge of tears._

Robert (CONT'D)  
>Cherish the early years, Tom. Before it all becomes so complicated.<p>

_There is a silence. Tom gives Robert a significant look._

TOM  
>We may all be thinking that same thing, soon.<p>

AN UPSCALE FLAT IN LONDON. MORNING.

ROSAMUND  
>It's not what I'd hoped for you.<p>

EDITH  
>I'm a (the phrase feels awkward to her) newspaper-woman. I'll make my own way.<p>

ROSAMUND  
>Good God, Edith. Think of the child!<p>

EDITH  
>I think of no one and nothing else, Aunt Rosamund. The nanny comes in a few days, after I've thrown in some basic furnishings. I will bring Corinne here myself after that, and we will start our lives together.<p>

ROSAMUND  
>But a woman alone? What if-<p>

EDITH  
>If I need help, I can rely on them to a point, I won't deny it. But no one will make Corinne feel unwanted. She and I will do very well on our own.<p>

ROSAMUND  
>If you need to come back to my house, it is always an option. I want you to know that. This is family. But I wish-I wish you knew the risks you are taking.<p>

EDITH  
>I know them. I'd rather have this set of risks than the other.<p>

INT. WATER CLOSET DOWNSTAIRS.

_Anna is rubbing her teeth with a small cloth and tooth powder. She rinses and dries her mouth, putting things away before exiting the water closet._

_Bates waits in the hallway._

BATES  
>Are you alright?<p>

ANNA  
>Yes, bit of a dodgy stomach.<p>

BATES  
>You were fine this morning.<p>

ANNA  
>And I'm fine now.<p>

_She smiles at him and continues into the boot room. He follows, unconvinced._

BATES  
>You don't often have stomach trouble.<p>

ANNA  
>John. I'm fine.<p>

BATES  
>Should you go home?<p>

ANNA  
>Goodness, no!<p>

BATES  
>Is it-<p>

_He looks out into the hallway and lowers his voice._

BATES (CONT'D)  
>Is it nerves? The next phase of our lives looming before us?<p>

ANNA  
>If you recall, that next phase<em> looming<em> is one of my big dreams coming true.

BATES  
>Mosely would jump at the chance, I don't have to go to London-<p>

ANNA  
>John!<p>

_Now _she_ looks back at the door and lowers her voice._

ANNA (CONT'D)  
>You're doing it again.<p>

BATES  
>What? I wasn't-<p>

ANNA  
>You were. You did.<p>

_He looks down at her and smiles.  
><em>

ANNA (CONT'D)  
>Now stop coddling me and kiss me like I'm your wife.<p>

_He looks back into the hallway, takes her face in gently his hands and kicks the door shut._

LIBRARY. MORNING.

MARY  
>Well, have you arrived at a decision?<p>

ROBERT  
>You saw it happen. I hand the reigns to you.<p>

MARY  
>It's not what I expected.<p>

ROBERT  
>It is what I would like.<p>

MARY  
>All right, Papa.<p>

ROBERT  
>Carson, show Barrow in, would you?<p>

CARSON  
>My Lord, My Lady. Mr. Barrow.<p>

_THOMAS enters. He stands in the doorway._

ROBERT  
>Come in, Thomas.<p>

THOMAS  
>My Lord. My Lady.<p>

MARY  
>We'll get right to it, Barrow. Our terms are these. If you wish to stay in our employ you will accept immediate demotion to footman. When you have proven your intentions to make reparations, then we will consider promoting you again. But it may take some time. My trust in you-our trust in you collectively-has been destroyed, by your actions and your actions alone.<p>

_Silence._

We will have your answer now, Mr. Barrow.

THOMAS  
>May I have my reference within the hour?<p>

_Mary and Robert stare._

THOMAS (CONT'D)  
>After over ten years in your employ, managing the military hospital at the estate, training new footmen, after all that. May I have my reference?<p>

_Robert, outraged, starts to speak. Mary interrupts him._

MARY  
>Yes.<p>

_Robert looks at Mary._

MARY (CONT'D)  
>Within the hour. I want you packed and out of our sight. You will have your reference, since I don't wish to see any man deprived of employment. But a warning, Barrow. Watch your actions from now on, wherever you are employed. If I hear any tales of you I will not hesitate to make information available. Do you understand me?<p>

_Thomas is on the verge of expressing himself, but he pulls it in and puffs his chest, raising his chin._

THOMAS  
>Yes, My Lady. My Lord.<p>

_He bows to them and walks out._

_CARSON is red-faced, following Thomas._

_Robert looks at Mary again, then turns and leaves the library._

DOWNSTAIRS HALLWAY. MORNING. VARIOUS STAFF ARE IN THE HALLWAY, KITCHEN AND DINING HALL WATCHING FOR THOMAS.

_Thomas begins his last walk down the hallway with his bag and valise over his shoulder. The other staff watch him from spots in the hallway, doorways, various locations._

THOMAS  
>Been nice knowing you all.<p>

JIMMY  
>Not so nice.<p>

THOMAS  
>Not so terrible in your case, either. You never got beat up.<p>

DAISY  
>I didn't thank you for the book. So-thank you. For the book.<p>

PATMORE  
>Where will you go?<p>

THOMAS  
>Don't worry about me.<p>

PATMORE  
>Never said I was worried.<p>

HUGHES  
>Well, I wish you luck. And maybe you've learned something.<p>

THOMAS  
>Something more about people? I know what I need to know.<p>

CARSON  
>Goodbye, Mr. Barrow.<p>

_Thomas walks past Anna, giving her a very subtle tip of his hat. He goes out the back door and stops in front of Bates. The door closes._

THOMAS  
>I never liked you. Never will. But we're not strangers. And you helped me once.<p>

BATES  
>Meaning I will probably have the opportunity to help you again.<p>

THOMAS  
>We never know what's in the cards, Mr. Bates. It could be the other way around, one day.<p>

BATES  
>Perish the thought.<p>

_Thomas heads off._

VILLAGE, DAY.

_Isobel is walking down the street and sees Sprat. He tips his hat._

SPRAT  
>Good morning, Mrs. Crawley.<p>

ISOBEL  
>Good morning, Sprat.<p>

_She smiles and starts to walk past him. He stops. She senses this and stops, turning to him._

SPRAT  
>I wonder, Mrs. Crawley, if I might have a word?<p>

WALKWAY OUTSIDE THE ESTATE. LATE MORNING.

_Mary pushes a pram and Tom is carrying Sybie. They stop at a bench under a tree._

TOM  
>You've seen the pictures. How Trentham estate came down. The auctions. Americans buying up the pieces. The thing even I couldn't bear to see would be the house demolished. Or worse, donated.<p>

MARY  
>Or transferred to private trust. Or made into a hospital. Tom, how can we be so close to such a condition?<p>

TOM  
>The world moves faster and faster. We've been-a bit removed from it.<p>

MARY  
>How can I have failed so miserably after all-<p>

TOM  
>Now, wait a minute. No one could have done more than you have. You can't blame yourself, Mary.<p>

_Mary looks past Tom at the grand estate of Downton Abbey._

MARY  
>If I can't save it, there is no one else to blame.<p>

LIBRARY. DAY.

ROBERT  
>Have you heard from Susan?<p>

CORA  
>I don't expect to. I might remind you we're not on the best of terms.<p>

ROBERT  
>After the Royal presentation? After the Prince himself opened her ball? After all-<p>

CORA  
>I think we should let her go.<p>

ROBERT  
>What on earth-<p>

CORA  
>It won't last, Robert. She's not cut out for that life. This is just an exercise in defiance.<p>

ROBERT  
>You know how to raise daughters. But it isn't fitting-<p>

CORA  
>University is very hard work. She will find that out.<p>

_Robert paces, unhappy._

CORA (CONT'D)  
>If we don't allow this, it will be something else. Something possibly even worse. At least there will be supervision at Oxford, and I might add, more than she is used to here.<p>

ROBERT  
>You think she'll come running back?<p>

CORA  
>None of ours would. Sybil would stay the course if only to prove a point. Mary would get top grades out of pride. Edith because she had so few distractions. But Rose is not one of ours, Robert. She's made for an easier life.<p>

ROBERT  
>I'm sure you're right. I'm beginning to wonder if I'm right about anything anymore.<p>

CORA  
>Where do things stand with Mary?<p>

ROBERT  
>I left the decision to her about Thomas. I took your point. And she insists we still may need to lock horns over the estate particulars. (Sighs) One does wonder if there is a place for men in this changing world at all.<p>

PARK BENCH IN THE VILLAGE. DAY.

ISOBEL  
>She's had sleep disturbances. She seems tired of late. Anything else?<p>

SPRAT  
>She becomes breathless more easily than she used to. I think her strength never quite returned after that last illness she had, when you looked after her. And it might seem impudent-<p>

ISOBEL  
>You can be blunt with me, Sprat.<p>

SPRAT  
>I don't think it's her mind fading. I think she may be-lonely.<p>

ISOBEL  
>But she's so independent.<p>

SPRAT  
>Mrs. Crawley, the very last thing I want is to put myself out of a job.<p>

ISOBEL  
>Your honesty is very much appreciated, Sprat.<p>

CARSON'S OFFICE. EVENING.

HUGHES  
>Well, it's nice to see Mr. Mosely so happy to be promoted. I wasn't sure you were going to.<p>

CARSON  
>Why not?<p>

HUGHES  
>For a time I believe you had concerns about his-gratitude.<p>

CARSON  
>That is all under the bridge.<p>

HUGHES  
>Good.<p>

CARSON  
>And I'm glad to have this Thomas business done with.<p>

HUGHES  
>But we know that difficulty will always find its way to us, no matter the guise it wears.<p>

CARSON  
>Of course. But at least it will be of a different sort.<p>

_The smile together. He pours her a sherry. They sit._

_There is along silence._

CARSON (CONT'D)  
>What I said to you- before you went to London-<p>

HUGHES  
>It's alright.<p>

CARSON  
>You know you mean more to me than just a respected professional.<p>

HUGHES  
>Although that is a good place to start.<p>

CARSON  
>I agree. But-<p>

HUGHES  
>Mr. Carson, nothing has to change in the way we live our lives. I don't want more from you. But I believe if we have moments of fondness, observed carefully within the bounds of-<p>

CARSON  
>Of course-<p>

HUGHES  
>Then it will not cause upheaval. If we turn to each other for comfort now and again, if we express affection when the time is right-the world needn't be upended.<p>

CARSON  
>But-how does such a thing work?<p>

HUGHES  
>This is as new a situation to me as it is to you. We'll have to manage it the way we do the rest of life-as we find it.<p>

CARSON  
>(Humorously) I prefer an orderly plan.<p>

_HUGHES slips her hand into his, smiling at him. CARSON overcomes his hesitation and closes his fingers around hers._

CARSON (CONT'D)  
>Do you know what I miss most about you, when you aren't here? You make me calm. Calm and-<p>

_A long silence. They sit comfortably together. He lays his other hand on her forearm._

CARSON (CONT'D)  
>Calm and-content.<p>

NEXT MORNING.

EXT. COTTAGE. PRE-DAWN.

_From outside we hear the harsh jangle of a windup alarm clock. A (BEAT) later a lamp flickers and flares._

INT COTTAGE BEDROOM.

_Anna and Bates are in bed, blinking awake._

ANNA  
>Goodness.<p>

BATES  
>We knew it would be loud.<p>

ANNA  
>Where did you get that thing?<p>

BATES  
>Me?<p>

_ANNA crawls on top of __BATES__._

ANNA  
>It was your idea.<p>

BATES  
>(Sighs) Ah. Yes.<p>

_Anna kisses his nose._

ANNA  
>Are you awake?<p>

BATES  
>(Groans) Ahhh. No.<p>

_Anna laughs._

ANNA  
>Are you packed?<p>

BATES  
>Yes.<p>

ANNA  
>Will you miss me?<p>

BATES  
>I won't do much else.<p>

ANNA  
>I thought you had some errands.<p>

BATES  
>Well, a few, actually. In addition to seeing to His Lordship at the club. I should have time to get it all done.<p>

ANNA  
>There are many lovely women in London, you know.<p>

BATES  
>Are there? I'll make sure to look for them.<p>

ANNA  
>Married men and the wandering eye.<p>

BATES  
>I'll look for those, too. Bring back a full report.<p>

ANNA  
>You're not tired of me?<p>

BATES  
>I'm as tired of you as I am tired of breathing.<p>

_Pulls her up on his chest, his arms around her._

ANNA  
>You have to go.<p>

BATES  
>Not yet.<p>

ANNA  
>And why not?<p>

BATES  
>Because you have doubts this morning and as a husband it's my job to erase them before I go.<p>

ANNA  
>How are you planning to achieve that?<p>

_He is stroking her hair._

BATES  
>Any way you want me to.<p>

BOARD ROOM OF THE SKETCH. MORNING.

_The entire staff is crammed into the board room. Edith stands at the head of the table._

EDITH  
>As you know I am not as experienced as many supervising editors. What I do have is a knowledge of Mr. Gregson's wishes, and his dreams for this paper. I will be a participating head of staff, but I will not be disrupting the running of the Sketch. You all know how to do your jobs. And I do have other responsibilities.<p>

PARRY  
>(Whispered to another journalist) To the dressmaker.<p>

EDITH  
>Mr. Parry, please say that again, and loud enough for the rest of the staff to hear.<p>

_Silence._

EDITH (CONT'D)  
>Do you not recall your remark? I recall it well.<p>

PARRY  
>I said you have a responsibility to your dressmaker.<p>

EDITH (_Nods and lets them laugh)_  
>You cannot possibly have any idea what my responsibilities are. And here I will make the point - I know more about you than you do about me. I have a profound respect for the abilities and experience in this room. But if I meet with disrespect of myself or Mr. Gregson in any way I am not afraid to sack any of you for it. I am experienced with dressmakers, it's true. I've also fired staff in my life, several. Test me, and you will find out.<p>

_Edith walks out from behind the table, facing them all._

The Sketch makes money because the combination of entertainment and solid journalism is well-balanced. And for one reason. This is the best newspaper staff in the city. You know how to keep that balance better than any other. Michael was proud of you, as I am. I want what's best for this paper.

_Edith pauses, scanning the room._

And Mr. Parry has witnessed the very last time I will tolerate disrespect or derision without an immediate dismissal.

_Edith nods to a staff member at the back of the room, who opens the board room door._

EDITH (CONT'D)  
>I did not provide tea or coffee at this meeting because you will find it on the front table when you leave the board room. I know you like to take refreshment at your desks. Before we finish, are there any questions?<p>

MONAHAN  
>Then, My Lady, you have no intentions of changing the direction of the Sketch?<p>

EDITH  
>Mr. Monahan, am I right? When did you join us? You are quite new.<p>

MONAHAN  
>I-<p>

EDITH  
>You were with the Times as a junior reporter for years, were you not?<p>

MONAHAN  
>Yes, My Lady.<p>

EDITH  
>Mr. Monahan, top editors alone are privy to that information but for now, if in fact you still talk to your friends at the Times, I would tell them we are fairly certain this will not become a fashion periodical tomorrow-but to buy themselves a copy of the Sketch anyway, just to be sure.<p>

_Edith smiles._

_Laughter circles the room and Monahan is jostled by others who are exiting to get their coffee. He is elbowed by Brown._

BROWN  
>She got your number alright, mate!<p>

SERVANT'S HALL, BREAKFAST.

ANNA  
>It just feels strange. Like we've lost a member of the family. Despite everything.<p>

_Anna stops talking suddenly, turning pale. She takes a few breaths. The rest prattle on, not noticing - except Baxter._

JIMMY  
>Well, I can't say that. Feel a bit unburdened just now.<p>

DAISY (From the doorway)  
>I know what you mean, though. Why would we miss him? But I feel it-him not being here.<p>

CARSON  
>He was an able footman and under butler. He received a good reference. I have no regrets.<p>

_Carson addresses a hall boy at the foot of the table._

Redmond, your opportunity is now at hand to continue training with Mr. Mosely. I trust you will make your best showing-

_Anna rises from the table with a jerk and bolts from the room. Everyone looks, then goes back to their breakfasts._

JIMMY  
>(Laughs) Imagine getting that choked up over him? Never saw that coming.<p>

_Baxter gives Jimmy a pained look and follows Anna. She goes down the hall and waits outside the water closet door. Anna emerges carefully, swallowing._

BAXTER  
>Chamomile, with a bit of mint?<p>

ANNA  
>(Gratefully) Yes.<p>

EXT ESTATE.

_Tom walks Isis and Cora walks beside them._

TOM  
>I'm sorry this comes from me.<p>

CORA  
>Why on earth would you be?<p>

TOM  
>It's a family matter-<p>

_Cora turns to admonish him. He anticipates this and corrects himself._

TOM (CONT'D)  
>An-estate matter.<p>

CORA  
>You're an estate manager and a member of this family. I want to hear it. And you know how I feel about it. I wouldn't mind a smaller house. But I know what it would do to them.<p>

TOM  
>Your flexibility might be needed here. And your support.<p>

CORA  
>Of course.<p>

TOM  
>I did want to ask you-and I can't tell you why, as I'm keeping a confidence. But-there are certain things you would not excuse, even of a family member. Would that be right?<p>

CORA  
>(Laughs dryly) Nothing comes to mind that I wouldn't excuse or even forgive. Not anymore. I used to have different ideas. But life will change you. Is this a confidence for a friend?<p>

_Silence._

CORA (CONT'D)  
>Tom?<p>

KITCHEN. TEATIME FOR THE STAFF HAS JUST ENDED.

_Other staff begin to bustle about as Patmore and Daisy finish their tea at the small kitchen table._

PATMORE  
>I'm happy to hear it. And we'll train more kitchen maids. But if I have special need of you on a Saturday or Sunday-<p>

DAISY  
>Of course I'll come and help. It's not that I'm leaving yet. Just weekends at the farm.<p>

PATMORE  
>It's the right thing. As you say, he's kind. And he is your family.<p>

DAISY  
>I just don't think I'm cut out to be a cook. I like it well enough, but-<p>

PATMORE  
>You don't love it.<p>

DAISY  
>No. I found out that I didn't love it.<p>

_A kitchen maid, Millicent, reaches down for the dishes. There is dirt under her fingernails. Daisy snatches her hand._

DAISY (CONT'D)  
>Here, have you washed up? You can't come into a kitchen to work looking like that!<p>

MILLICENT  
>I just got done helpin' me brothers with the weed killin'. Thought I'd wash after I picked up dirty dishes.<p>

_Patmore opens her mouth but Daisy is ahead of her._

DAISY  
>What have we told you about working in the kitchen? You don't come in here less than scrubbed to the nines. And what some farmers use to kill weeds! You could poison all of us if that gets around!<p>

PATMORE  
>(Softly) Are you being a bit hard-<p>

DAISY  
>How many days have you been spreading that evil concoction they've been using?<p>

MILLICENT  
>I int'-just this week-<p>

DAISY  
>What's wrong with your eyes?<p>

_The girl blinks repeatedly, looking down; her eyes are swollen and very bloodshot._

DAISY (CONT'D)  
>I know what does that. And you might be poisoning us all. (To Patmore) We can't have it.<p>

MOULTON, TABLE AT A POSH RESTAURANT. DAY.

LORD MERTON  
>Have you ever been to Amalfi?<p>

ISOBEL  
>Heavens, no.<p>

LORD MERTON  
>Fancy going?<p>

ISOBEL  
>Why would I go to Amalfi?<p>

LORD MERTON  
>Because I asked you to. Although there are other things I plan to ask you first.<p>

ISOBEL  
>But why ask me to go?<p>

LORD MERTON  
>You see, I was ready to travel. And then I saw you at Lady Grantham's. Had a chance to talk to you. You've been-a distraction.<p>

ISOBEL  
>But I-<p>

LORD MERTON  
>I don't want to rush you, but I must be honest. I've felt lately that-that life is to be lived. And when there is less of it left, one tends to want to make better use of the remaining time.<p>

ISOBEL  
>There are many unattached women who feel the same.<p>

LORD MERTON  
>But not you?<p>

_Isobel sips her tea._

LORD MERTON (CONT'D)  
>You seem quite distracted today.<p>

ISOBEL  
>I'm worried about-a friend.<p>

LORD MERTON  
>I'm sorry. Is there anything I can do?<p>

ISOBEL  
>I thank you, no. The things is-I don't want to be a disappointment to you.<p>

LORD MERTON  
>How could you possibly be?<p>

ISOBEL  
>This-need to make the most of the remaining time. I don't feel that same way. I may never be as happy as I once was. And that isn't what you're looking for right now.<p>

LORD MERTON  
>Do you see me going off the rails with one tart after another?<p>

_This is very honest talk even for Isobel. She blushes deeply._

LORD MERTON (CONT'D)  
>Forgive me. But I do not want you to misunderstand. I was not looking for someone. I didn't know I was looking for you. There you were. And that was it. I don't dream of frolicking the rest of my life away. I thought I would remain a bachelor and a happy one. But I'm not happy alone. And the only reason for that-is you.<p>

LIBRARY, EVENING.

_Mary is on the phone._

MARY  
>If you will be so close by, then yes. That would be perfect.<p>

_Pause_

I sent Papa to London with a list. I asked him to cover all the ground we discussed.

_Pause_

No question it will be difficult for him, but it's wrong to protect him anymore. I need him to see it first hand. I think we'll have better informed conversations when he's back.

_Pause_

Thank you, Charles. I-can't thank you enough, really. For everything. Good. We will see you then.

NEXT MORNING.

HIS LORDSHIP'S ROOMS AT THE CLUB IN LONDON.

ROBERT  
>Mary gave me a list. I have a list of errands from my daughter.<p>

BATES  
>(Laughs) I'm sure they are to good purpose, My Lord.<p>

ROBERT  
>Quite. I miss Matthew of course, but Mary has taken on his-well, his role-with a gusto I could never have anticipated. I doubt he could do better.<p>

BATES  
>What time is your meeting this afternoon?<p>

ROBERT  
>Oh, the banker again. After 3:00. I won't want to change for that. Take the whole afternoon, if you like.<p>

LONDON, DAY.

_Bates strides down the street, disappearing quickly into an alley. He stops by a uniformed police officer. The officer is professional, upright, very alert, the type that doesn't suffer fools gladly. He is glad to see Bates. They stand side by side, looking out of the alley._

BATES  
>Back on the force. How's it feel?<p>

OFFICER  
>Thank you for that letter.<p>

BATES  
>It was nothing.<p>

OFFICER  
>It was something to me. And better for the missus as well. And my little ones.<p>

BATES  
>You didn't deserve what happened. We just made it right.<p>

OFFICER  
>Life isn't always fair.<p>

BATES  
>No.<p>

OFFICER  
>And-how is Mrs. Bates?<p>

BATES  
>She's well.<p>

OFFICER  
>Is she?<p>

BATES  
>Yes.<p>

OFFICER  
>How marvelous.<p>

BATES  
>Yes, it is. She is.<p>

(BEAT)

BATES (CONT'D)  
>So-no trouble, then?<p>

OFFICER  
>No one questioned the report. No reason for them to. Like I told you, there had been complaints.<p>

BATES  
>And you found more on him?<p>

OFFICER  
>More than you want to know. It wasn't always grown women.<p>

_Bates looks away, his face going dark with revulsion._

OFFICER (CONT'D)  
>Stayed a step ahead for good while, too, our little green monster. But it would have been a matter of time, anyway.<p>

_Silence_

OFFICER (CONT'D)  
>Well, it's all past now. I look to the future, me.<p>

BATES  
>We're going into business. A hotel in Yorkshire. Looking at properties now.<p>

OFFICER  
>That's a good solid business. Congratulations.<p>

_Silence_

OFFICER (CONT'D)  
>Well, I'm on duty. Good to see you, John.<p>

BATES  
>And you.<p>

_They shake hands and walk out of the alley, Bates behind the officer._

_A woman stumbles. They each catch one arm, working together in smooth coordination._

WOMAN  
>(Laughing) Oh, please, pardon me!<p>

_She looks from one to the other._

WOMAN (CONT'D)  
>You two are quite the rescuers.<p>

BATES  
>Not at all.<p>

WOMAN  
>These streets. Sometimes-<p>

OFFICER  
>World ought to be a safe place for a woman.<p>

_The men's eyes meet._

_They tip their hats to her and walk in separate directions._

FINANCIAL OFFICES. LONDON. AFTERNOON.

ROBERT  
>Of course I find it offensive! How does it become a matter of public record-<p>

BANKER  
>It's not public. But the stories of the other estates are, and one only has to do some very superficial projections to arrive at the motivation. In general terms when it comes to the demise of the old English country houses, one could say-the race is on.<p>

ROBERT  
>It's obscene.<p>

BANKER  
>I do agree with the spirit of that statement. However, when one looks at the figures, one can see the draw.<p>

ROBERT  
>Like a battlefield to the vultures. How many of these "offers" have we received now?<p>

BANKER  
>Dozens. Of every conceivable nature.<p>

ROBERT  
>I must see them. I trust you have them all? I will need to take them with me.<p>

BANKER  
>You-wish to-<p>

ROBERT  
>I must. I have been invited to a meeting with some of these types tomorrow. It may help us to make some decisions.<p>

BANKER  
>None of this can be easy for you. I confess I never suspected you'd put up quite such a fight. But from what I've seen I can tell you, I'm glad to see it. So often it's not the estates themselves that are the biggest loss-but the way losing them can divide the families.<p>

ROBERT  
>And I can tell you that will never happen.<p>

HUGHES' OFFICE. MORNING.

HUGHES  
>Are you sure you're well enough to work?<p>

ANNA  
>Yes. It's-well, it was only two mornings. I'm fine today. But-<p>

_They gaze at each other. Hughes' smile grows. Anna smiles and blushes._

HUGHES  
>Do you think?<p>

ANNA  
>I don't know. It's early yet.<p>

HUGHES  
>Well, these things can come and go. Life is mysterious. For your sake I'm very happy. But if you need time to let your stomach get back on course of a morning, just let me know.<p>

BUSY KITCHEN IN A GRAND LONDON RESTAURANT. DAY.

_Thomas, in an apron, is stacking dishes next to the big sink. The dish washer, a 40ish man in a dirty apron, watches Thomas dourly._

DISH WASHER  
>You want to get a move on, Nancy.<p>

THOMAS  
>How's that?<p>

DISH WASHER  
>This isn't some grand estate for you to stretch out on some fancy couch with a feather fan. We stay ahead of the action here, not behind it. The way you Nancys like.<p>

THOMAS  
>For someone who hates Nancys you talk a lot about them. On your mind, are we?<p>

DISH WASHER  
>Don't push me, boy. You're going to have to step it up if you want to serve at tables. And you're a bit old.<p>

THOMAS  
>I'm experienced.<p>

DISH WASHER  
>I'll bet you are, at that.<p>

THOMAS  
>Going to ask me for dinner? Afraid I'm busy.<p>

DISH WASHER  
>Tough, then, are we?<p>

_Thomas smiles and leaves the kitchen with his tray._

THE CLUB IN LONDON. INT.

_Bates is dressing His Lordship for dinner._

BATES  
>Anything I can do, My Lord?<p>

ROBERT  
>Is it that obvious?<p>

BATES  
>If there's anything-<p>

_Robert heaves a sigh._

ROBERT  
>The world seems to turn faster and faster. To keep up with the changes-<p>

BATES  
>It does seem to do that.<p>

ROBERT  
>I suppose you've never had a feeling of utter uselessness.<p>

BATES  
>When they thought I would lose the leg. And-when I was previously married.<p>

ROBERT  
>Yes. Of course. But you and Anna seem strong as ever.<p>

BATES  
>We are, My Lord.<p>

ROBERT  
>Good, good. But I must warn you, Bates.<p>

BATES  
>My Lord?<p>

ROBERT  
>If you end up with a house full of daughters, don't be surprised if you find that women are ruling the world.<p>

BATES  
>I wonder if that might not be for the best, My Lord.<p>

_Robert turns to see if Bates is serious. Though smiling, Bates is indeed serious._

_Robert laughs._

STREET IN LONDON. EARLY EVENING.

_THOMAS walks along the street, then stops. He quickly steps behind a building and peers out onto the sidewalk, seeing EDITH walking alone. He waits until she walks past, waits a beat longer. Then he follows her._

INT. LADY GRANTHAM'S HOUSE. EVENING.

_Sprat is cleaning off a tray. He hears a thump and a faint moan._

_Sprat quickly goes to the drawing room where he sees Violet on the floor._

SPRAT  
>Your Ladyship!<p>

_He falls to his knees to assist her._

NEXT MORNING.

SERVANT'S DINING HALL.

_The staff are at breakfast. Mrs. Patmore addresses Mr. Carson._

PATMORE  
>It was Millicent. She made the scones on Sunday.<p>

JIMMY  
>The gooseberry ones? The ones only Anna liked?<p>

MOSELY  
>You had one yesterday.<p>

JIMMY  
>Not a whole one. Awful, they were. Thought I was sick just from the taste.<p>

PATMORE  
>Daisy discovered it. Though I would have. We'd just gotten back from London a few days-<p>

CARSON  
>But what on earth was it?<p>

PATMORE  
>Some kind of thing they use on the farms to kill weeds-<p>

_Daisy shows up in the doorway._

DAISY  
>Copper sulphate, most likely. Makes you vomit. But it's best to. If it stays in your stomach-<p>

JIMMY  
>Not much danger of that.<p>

CARSON  
>Yes, thank you for the scientific information, Daisy. Have we found the solution to the problem?<p>

PATMORE  
>Millicent has been suspended until the end of the season when there's no more of it about on the farm.<p>

_Anna is pensive. Baxter looks sympathetically across the table._

BAXTER  
>(Quietly, to Anna) What time are they supposed to be back?<p>

ANNA  
>Late. They decided to leave in the afternoon. Some kind of extra last-minute meeting for His Lordship.<p>

CARSON  
>Seems a bit drastic to suspend her.<p>

Daisy  
>It's a powerful poison. Even the tiniest bit in any food. We couldn't risk it.<p>

_Anna leaves the table. Baxter follows her. Hughes follows them both._

HALLWAY

ANNA  
>It's not as if-well, I found out this morning that-<p>

_She shakes her head._

BAXTER  
>Oh, I'm sorry.<p>

ANNA  
>No, it's alright. I think-I think I knew, deep down.<p>

_Hughes pulls them into her office, closing the door._

HUGHES  
>There will be no child, then?<p>

_Anna shakes her head, on the edge of tears._

HUGHES (CONT'D)  
>What happened?<p>

BAXTER  
>You're young, yet.<p>

ANNA  
>Not that young.<p>

BAXTER  
>Young enough.<p>

ANNA  
>I just hope that-(looks at Hughes) what if I miscarried?<p>

BAXTER  
>That wouldn't be your fault.<p>

ANNA  
>Would it not?<p>

HUGHES  
>We can never know what causes these things. Perhaps you were working too hard.<p>

ANNA  
>The thing is-I wasn't feeling sure. The timing-now would be very poor time. And I think I-what if I-<p>

BAXTER  
>It was much too early on to say that. You will never know, Anna. It's best to let this go.<p>

HUGHES  
>And there's always next time.<p>

_This line from Hughes makes Anna feel even worse._

LADY MARY'S BEDROOM. EARLY EVENING.

_Mary is at her dresser. Anna is buckling Mary's shoes._

MARY  
>Oh. What have I done? I wouldn't wear these shoes with this-<p>

ANNA  
>Oh. My Lady. It's my fault. I'm so sorry.<p>

MARY  
>Please don't be, Anna. When you look at the that shade with these stockings it's rather amusing. Something Rose might wear.<p>

_Anna goes to the closet for another pair of shoes. She holds them up._

ANNA  
>These will work better I think.<p>

_They exchange a smile._

MARY  
>Rather. But now what is amiss with both you and I? We're both in a fog. Have you a lot on your mind today?<p>

ANNA  
>Compared to some days I've had, today is nothing.<p>

MARY  
>And I-have rather a lot.<p>

ANNA  
>Is it to do with the estate?<p>

_Anna bends down and is taking off Mary's shoes._

MARY  
>The future of Downton - as it has been for years. Changes may be upon us soon. But I want you to know, Anna-<p>

_Mary takes Anna's hand. Anna stops and looks at her._

MARY (CONT'D)  
>I want you to know that if anything were to affect your future I would let you know immediately. I can't imagine going on without you no matter our circumstance. I hope you will never worry about that. There will always be a place for you here.<p>

_Anna swallows and pales._

MARY (CONT'D)  
>Were you worried, then?<p>

ANNA  
>I-I-<p>

_There is a knock on the door._

_Cora peeks in._

CORA  
>Mary, Charles is dressed. He says he would like a word before dinner.<p>

EXT. ESTATE GROUNDS. EARLY EVENING.

BLAKE  
>You want to keep the house, of course?<p>

MARY  
>Yes. That's all I want.<p>

BLAKE  
>Not all.<p>

MARY  
>No. There are many things I want, and I won't have all of them. I know that. But the house-at least the surrounding grounds, what farms we can-it's one thing I must do. It's nearly as important as raising my son.<p>

BLAKE  
>I want to you to know that I will help you all I can. As a friend, if we are to be nothing but that. I will help you keep what I can.<p>

MARY  
>Oh, Charles.<p>

_They hold a long look._

_Blake sweeps her into his arms and gives her a long, deep kiss. He releases her. Mary is breathless, staring at him._

BLAKE  
>Thank God. That's the look I was hoping for. And I hope it means what I think it does.<p>

MARY  
>Are you so sure of yourself?<p>

BLAKE  
>Absolutely not. But I couldn't wait any longer to find out.<p>

_Mary is staring at him. She reaches for his hand. He pulls her in again, but more gently this time. She steps in. The kiss goes even longer._

BLAKE (CONT'D)  
>Well?<p>

_Mary is in a rare moment of disorientation. She takes a step away, looking at him._

MARY  
>Well, what?<p>

BLAKE  
>Did the sky explode and the ground fall away for me only?<p>

MARY  
>No.<p>

_He waits, not breathing._

MARY(CONT'D)  
>Not-not for you, only.<p>

_He nods._

BLAKE  
>Good. Let's get back before this appears improprietous.<p>

MARY  
>But-I-<p>

BLAKE  
>We both needed to know. You have enough information now to make your decision. Do you not?<p>

_He smiles and holds out his hand._

ESTATE GROUNDS. NIGHT.

_Anna wanders the estate. She finds herself on a hill overlooking the grounds and farms and sits, watching the moon rise. She begins to weep softly._

_The moon fades and rises, fades and rises._

ESTATE GROUNDS. LATER.

_Anna wakes from a reverie. She starts up, alarmed. The moon is high in the sky now. She walks quickly back to the cottage. As she approaches she sees a flood of light from the open cottage door and a group of men with lanterns. Two have dogs._

_Anna takes in the scene. She sighs heavily and walks toward the pool of light._

_Bates is standing in the middle of the light. He looks up at her. Their eyes meet for a long moment._

_Anna walks forward._

ANNA  
>I do hope this isn't for me.<p>

DREWE  
>Mrs. Bates! Are you alright?<p>

ANNA  
>Yes. I-I-yes, I am.<p>

BATES  
>Thank you, lads. I can't thank you enough for your concern and for your help.<p>

_Anna and Bates are still eyeing each other.  
><em>

ANNA  
>Gentlemen, I hope you will forgive me. I am so sorry for the false alarm. I lost track of time, and-<p>

FARMER  
>As long as you're safe and well, Mrs. Bates.<p>

ANNA  
>I am. Aside from the embarrassment. Again, I'm so sorry for your trouble.<p>

DREWE  
>That's alright, then. Don't worry, Mrs. Bates. These things happen. Glad to see you home safe. Very glad indeed. Good night.<p>

_The men disperse. Bates _turns and walks into the cottage. _Anna slowly follows him.  
><em>

INT COTTAGE. NIGHT.

_Bates stands with his back to her. Anna closes the door._

BATES  
>Do you have any idea-do you know what that's like?<p>

ANNA  
>Yes. (BEAT) I do, don't I? I know what it's like.<p>

BATES  
>Then how could you-<p>

ANNA  
>I've-you don't know-<p>

BATES  
>That's the very point isn't it Anna? I didn't know!<p>

_He half turns._

I still don't know! Where were you? Did you fall somewhere, break an ankle? The way you wander the meadows sometimes, you could be shivering and calling out alone somewhere, no one to hear you. Or did someone come along and-

ANNA  
>No.<p>

(BEAT)

ANNA (CONT'D)  
>I-<p>

BATES  
>What?<p>

ANNA  
>I-thought. I'm late, and I thought...<p>

_He turns to her now._

BATES  
>Yes. It's after midnight. Did you know that?<p>

ANNA  
>Not that kind of late.<p>

BATES  
>What does that mean?<p>

ANNA  
>(With an edge) You will calm down, please, so I can speak to you.<p>

(BEAT)

BATES  
>The things that went through my mind, Anna-<p>

ANNA  
>I thought we had a child and we don't. We don't!<p>

_Silence_

BATES  
>Are you alright?<p>

ANNA  
>Yes. I just-I-walked and walked and-<p>

_He recovers for a long moment. Then, quietly,_

BATES  
>I'm sorry, my darling.<p>

ANNA  
>I've-I've let you down. And us. And the child-<p>

BATES  
>That's not fair! Nature will do what nature does.<p>

ANNA  
>But we both want-<p>

BATES  
>I want you! You're the only thing I want. And our children if we have them. But you come first and you always will. I can't spare you. You are my happiness. You are everything.<p>

ANNA  
>I just-I felt-<p>

BATES  
>You are not alone with this! We do these things together. I can't help, I can't be a husband if-<p>

ANNA  
>I wasn't hiding it. I needed some time alone with it.<p>

BATES  
>I would never interfere with that.<p>

ANNA  
>No, you wouldn't.<p>

BATES  
>But don't pull away from me again and try to take on everything yourself. Don't hide your pain from me. Don't cut me out.<p>

ANNA  
>I wasn't-<p>

BATES  
>You were. You did.<p>

(BEAT)

ANNA  
>Alright, I did.<p>

(BEAT)

I'm sorry, John.

_Long pause._

ANNA (CONT'D)  
>I didn't mean to scare you.<p>

_Anna crosses the room to wrap her arms around him. He sighs._

ANNA (CONT'D)  
>This thing will never go away.<p>

BATES  
>That's not important.<p>

ANNA  
>How can it not be?<p>

_He begins to relax, wrapping his arms around her._

BATES  
>It doesn't matter that some injuries never go away because some things are like that. Life can be like that. What does matter is we get through it together.<p>

_She is wiping his tears away._

ANNA  
>Are you still upset with me?<p>

BATES  
>Yes.<p>

_But he smiles. He softens._

BATES (CONT'D)  
>I'm sorry you were disappointed.<p>

_She smiles at him._

BATES (CONT'D)  
>How I've missed you.<p>

_He pulls her in, tightly._

And London moves so much faster. There are people in the world with no conscience, no humanity at all. And you've never been so late coming home before-

ANNA  
>Let's go to bed. I'll read to you.<p>

BATES  
>Alright. (BEAT) But if you ever do that again I'm calling the constable and having you arrested for spousal abuse.<p>

EXT. COTTAGE

_Through the windows we see them holding each other as the shot pans out. They kiss. Fade to black._

The End.


End file.
